Showmanship at the Vista was always first class with operating screen tabs and was always a must-visit when in LA. Does Tarantino’s New Beverley cinema practice perfection like this, or will the Vista become just another screening room?
Can someone provide information on print availability in such cases as Giant Claw playing in so many Loew’s theatres. Would each theatre have had their own print, or would prints be shared amongst close locations as so often happened here in Australia?
I can’t believe this new trend. Can you imagine bed seating in live theatres? I’m probably considered a dinosaur, but I feel this is another nail in the coffin for serious film fans.
terrywade, thanks for your honest perspective on this famous venue. I recall being rather disappointed when I travelled from Australia to once again experience 3 strip Cinerama for How The West Was Won in 2007. While certainly impressive, the lack of a true vertical strip screen for 3 strip did result in some very serious cross shadowing and emphasis on the “joins”. I also remember at how so much re-lamping in the auditorium had been ignored for such an important season that attracted international attention. In recent years, with the growth of digital presentation, I’ve been astounded at the number of complaints on this post regarding the distortion of digital projection on the deeply curved screen at the Dome. Like many, I would hate to see the closure of this iconic building, but given the closure and demolition of much grander cinemas world-wide, I wonder if this structure is being viewed through many rose-coloured glasses.
The photo of the resurfacing of the screen seems to indicate it was slightly concurved, as were the screens at the Metro twin drive-in in Melbourne, Australia.
The book store that operated in the former cinema 4 has closed and the space now sits empty, cinema 6 space is now a restaurant and the huge cinema 5 remains screening mainly Chinese movies but has been significantly reduced in capacity by bringing a new (much smaller) screen forward effectively cutting the original auditorium in half.
As much as I adored the experience of seeing a film here in 2007, I really wonder how Netflix will be able to profit from this venue. Please don’t get me wrong, as I applaud Netflix saving this beautiful venue. However, with 24/7 screening at any time that suits subscriber viewing at any time of the day or night, I really wonder how long this experiment will remain viable. Happy to be proved wrong.
Sadly, looking at the photo’s listed here, I’d say this is no loss. Scope image letterboxed to a 1.85 screen, off-centre seating, no masking, no showmanship. Exactly the lack of care and presentation that has cheapened movie-going to the point of no-return.
Vindanpar, after opening a 70mm Roadshow engagement at the Paris Theatre in Melbourne Australia in April 1965 it was still playing at the same theatre until December 1967 when it transfered to the Esquire theatre opposite where it continued a 70mm Roadshow policy until September 11 1968.
What’s with this trend of projecting the title of the movie on the tabs? Doh! We all know what movie we have purchased a ticket for.
Can they fit a scope screen in that narrow proscenium?
Ridiculous. Will AMC ensure a staff member in every auditorium at every screening to ensure this policy is enforced? I think not!
From the photo pictured this would have been an ideal intimate theatre to bring back to live use. Such a pity.
Am I the only one concerned about the time it’s taking for these renovations to be finalised and re-open?
Is it just me or do others find this new blade sign very ordinary?
Sadly there seems to be no photograph of the magnificent deeply curved 70mm screen.
Showmanship at the Vista was always first class with operating screen tabs and was always a must-visit when in LA. Does Tarantino’s New Beverley cinema practice perfection like this, or will the Vista become just another screening room?
Can someone provide information on print availability in such cases as Giant Claw playing in so many Loew’s theatres. Would each theatre have had their own print, or would prints be shared amongst close locations as so often happened here in Australia?
Will all the volunteers of the last years that kept this building operational be honoured?
Brilliant way (not!) to encourage audiences back to the movie-going experience.
I can’t believe this new trend. Can you imagine bed seating in live theatres? I’m probably considered a dinosaur, but I feel this is another nail in the coffin for serious film fans.
How wonderful to know this space is being re-cycled into more retail space, and no doubt, fast-food outlets. BTW, we also screen movies!!!!
Nice attempt, but sorry, no screen curtain and masking will have me continuing on a large screen TV in the comfort of my living room.
Hi bigjoe59, you win. Thought I was doing well with 108 programmes. Another loss in the cinema-going experience that I guess we’ll never see again.
terrywade, thanks for your honest perspective on this famous venue. I recall being rather disappointed when I travelled from Australia to once again experience 3 strip Cinerama for How The West Was Won in 2007. While certainly impressive, the lack of a true vertical strip screen for 3 strip did result in some very serious cross shadowing and emphasis on the “joins”. I also remember at how so much re-lamping in the auditorium had been ignored for such an important season that attracted international attention. In recent years, with the growth of digital presentation, I’ve been astounded at the number of complaints on this post regarding the distortion of digital projection on the deeply curved screen at the Dome. Like many, I would hate to see the closure of this iconic building, but given the closure and demolition of much grander cinemas world-wide, I wonder if this structure is being viewed through many rose-coloured glasses.
The photo of the resurfacing of the screen seems to indicate it was slightly concurved, as were the screens at the Metro twin drive-in in Melbourne, Australia.
The book store that operated in the former cinema 4 has closed and the space now sits empty, cinema 6 space is now a restaurant and the huge cinema 5 remains screening mainly Chinese movies but has been significantly reduced in capacity by bringing a new (much smaller) screen forward effectively cutting the original auditorium in half.
Isn’t it amazing how many “mysterious” fires destroy these beautiful buildings.
As much as I adored the experience of seeing a film here in 2007, I really wonder how Netflix will be able to profit from this venue. Please don’t get me wrong, as I applaud Netflix saving this beautiful venue. However, with 24/7 screening at any time that suits subscriber viewing at any time of the day or night, I really wonder how long this experiment will remain viable. Happy to be proved wrong.
Sadly, looking at the photo’s listed here, I’d say this is no loss. Scope image letterboxed to a 1.85 screen, off-centre seating, no masking, no showmanship. Exactly the lack of care and presentation that has cheapened movie-going to the point of no-return.
So nice to see “normal” seating in a recent restoration as opposed to sleep-inducing recliners.
interesting, why were Wednesday matinees so much cheaper?
A most unusual proscenium. Was it ever adapted for ‘scope ratio?
Vindanpar, after opening a 70mm Roadshow engagement at the Paris Theatre in Melbourne Australia in April 1965 it was still playing at the same theatre until December 1967 when it transfered to the Esquire theatre opposite where it continued a 70mm Roadshow policy until September 11 1968.